UPHESC Assistant Professor Music Sitar 2025 PYQs

Concept: A synopsis is a plan made before the research, so it cannot contain conclusions.

1. It includes title, introduction, review of literature, objectives, hypothesis, methodology, chapter scheme and bibliography.
2. Conclusions come only after data analysis, in the thesis.

Short trick: Synopsis = plan; conclusion = result.

Concept: Quantitative research starts with a theory/hypothesis and tests it with measurable data – a deductive approach.

1. Qualitative research builds theory from observations – inductive.
2. 'Quantitative' in option C just repeats the question; 'narrative' is a qualitative design.

Short trick: Quantitative = test hypothesis = deductive.

Concept: A hypothesis is a tentative statement to be tested – it guides research but does not collect data.

1. Interview, questionnaire/opinion form and observation are tools for gathering data.

Short trick: Hypothesis is tested BY data, it doesn't collect data.

Concept: Bhatkhande's thaat classification:

1. Bihag – Bilawal thaat → ii.
2. Multani – Todi thaat → iii.
3. Darbari Kanhada – Asavari thaat → iv.
4. Patdeep – Kafi thaat → i.

Short trick: Bihag-Bilawal, Multani-Todi, Darbari-Asavari, Patdeep-Kafi.

Concept: When Pa becomes the new Sa, every old note shifts by a fifth (old note − 7 semitones).

1. M' (tivra Ma) → shuddha Ni (mandra); Pa → Sa; Ga → shuddha Dha (mandra); Ma → komal Ni (mandra); Dha → shuddha Re.
2. New phrase: .Ni Sa .Dha .ni Re – both Nishads with Dha and Re.
3. 'Ni Sa Dha ni Re' is the characteristic pakad of Jaijaivanti, which uses both Ni (and both Ga).

Short trick: Pa as Sa: Ma'→Ni, Ma→ni; both Ni + 'Dha ni Re' = Jaijaivanti.

Concept: Order by prahar:

1. Bhairav – 1st prahar of day (dawn).
2. Asavari – 2nd prahar of day (late morning).
3. Bhimpalasi – 3rd prahar of day (afternoon).
4. Marubihag – 1st–2nd prahar of night.
5. Adana – 3rd prahar of night (late night).

Short trick: Dawn Bhairav → Asavari → Bhimpalasi → Marubihag → Adana.

Concept: Underlined = komal. Identify each phrase:

1. a. ni Dha Pa, Dha Ga Ma Ga – komal Ni with shuddha Ga → Khamaj (iii).
2. b. .Ni Sa Ma, Ma Pa ga Ma, Ma ga Re Sa – komal Ga, Ma-centred → Bhimpalasi (iv).
3. c. Ga Pa Dha ni Dha Pa, Ma Ga Ma Re – Alhaiya Bilawal's pakad (komal Ni only in descent) (i).
4. d. Ma Pa ga Ma Pa, Ni Sa' Dha Pa – komal Ga with shuddha Ni → Patdeep (ii).

Short trick: ni+Ga = Khamaj; ga+ni = Bhimpalasi; ga+Ni = Patdeep.

Concept: Avirbhav–tirobhav is possible between samprakriti ragas sharing the same swaras.

1. Bilaskhani Todi – Komal Rishabh Asavari (same Bhairavi-type swaras) → iii.
2. Marwa – Sohini (same swaras, Pa varjit) → iv.
3. Darbari – Adana (Kanhada family, same swaras) → i.
4. Jaunpuri – Asavari (Asavari thaat, close movement) → ii.

Short trick: Same-swara pairs: iii, iv, i, ii.

Concept: Sohini belongs to Marwa thaat – I true.

1. Both use Sa, komal Re, Ga, tivra Ma, Dha, Ni with Pa omitted (shadav-shadav) – same notes, so II true.
2. They differ in emphasis: Marwa – Re/Dha, uttarang–poorvang balance; Sohini – Ga/Dha and tar Sa, uttarang-pradhan.

Short trick: Marwa, Puriya, Sohini – same swaras, different chalan.

Concept: Bhairav is itself a ragang (Bhairav-ang) from which Ahir Bhairav, Nat Bhairav, Bairagi Bhairav etc. take their colour – I true.

1. Vadi–samvadi of Bhairav are komal Dha and komal Re, not Ga–Dha – II false.
2. Andolit komal Re and komal Dha are its identity.

Short trick: Bhairav: Dha–Re vadi-samvadi, both andolit.